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Chapter Fifteen: The Seventeenth Century: The Baroque Era

Chapter Fifteen: The Seventeenth Century: The Baroque Era. Culture and Values, 8 th Ed. Cunningham and Reich and Fichner-Rathus. The Counter-Reformation Spirit. Council of Trent (1545-1563) Redefined doctrines, reaffirmed dogmas Assertion of discipline, education

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Chapter Fifteen: The Seventeenth Century: The Baroque Era

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  1. Chapter Fifteen:The Seventeenth Century:The Baroque Era Culture and Values, 8th Ed. Cunningham and Reich and Fichner-Rathus

  2. The Counter-Reformation Spirit • Council of Trent (1545-1563) • Redefined doctrines, reaffirmed dogmas • Assertion of discipline, education • New artistic demands, purpose • Society of Jesus, Jesuits • Ignatius Loyola (1491-1556) • Missionaries, educational improvement

  3. Seventeenth-Century Baroque • Decentralized styles • Art for the middle-class • Rich, ornate, elaborate, fanciful • Emotionalism • Psychological exploration • New techniques, virtuosity

  4. 15.4 Saint Peter’s façade, Rome, Italy

  5. The Baroque Period in ItalyBaroque Sculpture and Architecture in Rome Gian Lorenzo Bernini (1598-1680) • Chief architect of Counter-Reformation • Fountains, palaces, churches • Conflict with Borromini • Religious-themed sculptures • Baldacchino • David (1623) • The Ecstasy of Saint Teresa (1645-1652)

  6. 15.6 Gian Lorenzo Bernini, Baldacchino, 1624-1633

  7. 15.7 Gian Lorenzo Bernini, David, 1623

  8. 15.8 Gian Lorenzo Bernini, The Ecstasy of Saint Teresa, Cornaro Chapel, Santa Maria della Vittoria, Rome, Italy

  9. Gian Lorenzo Bernini,  Pluto and Proserpina, marble, 1621-22 (Galleria Borghese, Rome)

  10. The Baroque Period in ItalyBaroque Sculpture and Architecture in Rome Francesco Borromini (1599-1667) • Brooding, melancholy • Obsessive elaboration of design • Highly complex structures • Church of San Carlo alle Quattro Fontane • Sinuous curves and counter-curves • Concave and convex walls

  11. Francesco Borromini, San Carlo alle Quattro Fontane, begun 1638, façade finished 1667. Exterior façade 38′ (11.58 m) wide. Rome, Italy.

  12. 15.10 Francesco Borromini, the dome of San Carlo alle Quattro Fontane, 1638-1641

  13. The Baroque Period in ItalyPainting in Rome Annibale Carracci • Extreme emotion, realism of detail • Exuberant life, movement, sensuality • Galleria of the Palazzo Farnese

  14. Annibale Carracci, The Loves of the Gods, 1597–1601. Ceiling frescoes in the gallery of the Palazzo Farnese, Rome, Italy.

  15. The Baroque Period in ItalyPainting in Rome Caravaggio (1573-1610) • Dramatic naturalism, realism • Brutal, pessimistic • Emotional, psychological • Tenebrism • The Calling of St. Matthew (1600-1602) • Judith and Holofernes (1598) • Artemisia Gentileschi • Judith Decapitating Holofernes (1620)

  16. 15.12 Caravaggio, The Calling of Saint Matthew, 1600-1602

  17. Caravaggio,  Deposition oil on canvas, c. 1600-04 (Pinocateca, Vatican) 

  18. Caravaggio, The Crowning with Thorns, 1602-04, oil on canvas, 165.5 x 127 cm (Kunsthistorisches Museum, Vienna) 

  19. The conversion of Saint Paul 1601

  20. 15.14 Artemesia Gentileschi, Judith Decapitating Holofernes, ca. 1620

  21. Caravaggio, Judith and Holofernes, ca. 1598. Oil on canvas, 57″ × 77″ (145 cm × 195 cm). Galleria Nazionale d’Arte Antica, Palazzo Barberini, Rome, Italy.

  22. The Baroque Period Outside ItalySpain Diego Velázquez (1599-1660) • Vitality of scene • Lives of ordinary people • Las Meninas (1656) • Color • Space • Reality of detail

  23. 15.15 Diego Velazquez, Las Meninas (The Maids of Honor), 1656

  24. Diego Velázquez, The Surrender of Breda, 1634-35, oil on canvas, 307 cm × 367 cm / 121 in × 144 in (Museo del Prado, Madrid)

  25. The Baroque Period Outside ItalyFlanders • Peter Paul Rubens (1577-1640) • The Rape of the Daughters of Leucippus • Restless energy, sense of action • Female nudity, ample proportions • Anthony Van Dyck (1599-1641) • Formal portraits • Refined tastes, noble patrons

  26. 15.16 Peter Paul Rubens, The Rape of the Daughters of Leucippus, 1617

  27. Peter Paul Rubens,  The Elevation of the Cross,  1610, oil on wood, 

  28. Anthony van Dyck, Marchesa Elena Grimaldi, Wife of Marchese Nicola Cattaneo, ca. 1623. Oil on canvas, 84⅞″ × 48½″ (242.9 × 138.5 cm). National Gallery of Art, Washington, DC.

  29. The Baroque Period Outside ItalyThe Dutch Republic (Holland) • Frans Hals (c. 1580-1666) • Group portraits • Jan Vermeer (1632-1675) • Inner contemplation, repose • Light, stillness

  30. 15.18 Frans Hals, Banquet of the Officers of the Civic Guard of Saint George at Haarlem, 1616

  31. 15.26 Jan Vermeer, Young Woman With a Water Jug, 1665

  32. The Baroque Period Outside Italy The Dutch Republic (Holland) Rembrandt van Rijn (1606-1669) • Spiritual matters, problems of existence • The Night Watch (1642) • Self-understanding through self-portraits • Psychologically reflective • Tragic nature of human destiny • Emotionality through virtuosity

  33. 15.21 Rembrandt van Rijn, The Sortie of Captain Frans Banning Cocq’s Company of the Civic Guard (The Night Watch), 1642

  34. 15.19 Rembrandt van Rijn, Self-Portrait, 1652

  35. Rembrandt van Rijn, The Anatomy Lesson of Dr. Nicolaes Tulp, 1632. Oil on canvas, 67″ × 85 ¼″ (170 × 217 cm). The Royal Picture Gallery Mauritshuis, The Hague, The Netherlands.

  36. The Baroque Period Outside ItalyFrance • Nicolas Poussin (c. 1594-1665) • Protest against baroque excesses • Nostalgic yearning for idealized past • Georges de La Tour (1590-1652) • Restrained mood, repressed emotionality

  37. 15.27 Nicholas Poussin, The Rape of the Sabine Women, ca. 1636-1637

  38. 15.28 Georges de La Tour, The Penitent Magdalen, ca. 1640

  39. The Baroque Period Outside ItalyFrance • The Palace of Versailles • Louis XIV = the Sun King • Politics, psychology • Grandiose symbolism • Baroque extremes + Classical simplicity

  40. Hyacinthe Rigaud,  Louis XIV, King of France and Navarre, oil on canvas, 1701 (Musée du Louvre, Paris)

  41. 15.29 Palace of Versailles, begun 1669

  42. 15.30 Hall of Mirrors (Galerie des Glaces), begun 1676, Palace of Versailles

  43. The Baroque Period Outside ItalyNew England • Anne Bradstreet • Thomas Smith

  44. 15.31 Thomas Smith, Self-Portrait, ca. 1680

  45. Baroque Music • Emphasis on rhythm and melody • Listening pleasure and glory of God • Sacred music with universal appeal • Growing interest in secular music

  46. Baroque Music:The Birth of Opera • Play in which text was sung, not spoken • Aristocratic and middle-class audience • Florentine Camerata • Objected to polyphonic style • Monody, recitative • Inspired by Greek drama, tradition • Jacopo Peri: Dafne, Euridice

  47. Baroque Music:The Birth of Opera • Claudio Monteverdi (1567-1643) • L’Orfeo • Dramatic instinct, emotionality of music • Academic principles of Camerata • Opera houses • Audience appeal • Lavish stage spectacles, arias

  48. Baroque Instrumental and Vocal Music • Oratoriio • Dietrich Buxtehude (1637-1707) • Chorale fantasies, suites for harpsichord • Domenico Scarlatti (1685-1757) • Harpsichord virtuoso, sonatas • Georg Frideric Handel (1685-1759) • Oratorios (Messiah) • Operas

  49. Baroque Instrumental and Vocal Music:Johann Sebastian Bach (1685-1750) • Virtuoso of composition, performance • Complexity of musical thought • Polyphony, fugue, counterpoint • Expression of deep religious faith • Chorale preludes, cantatas • Brandenburg Concertos • Antonio Vivaldi • Concerto grosso (Vivaldi)

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